Yesterday in New York City, the trial began for Pedro Hernandez, the man arrested for murdering Etan Patz. I wrote the following post in June, 2012, when he was first arrested. Etan’s disappearance had a major impact on my husband and me, influencing us to move upstate, away from the city we loved. It’s painful to revisit this tragedy, and I can’t begin to imagine how his parents, Stan and Julie Patz, have lived with it these past 35 years.
According to the Washington Post, “Despite its grim denouement, experts say that the Patz case helped revolutionize the way law enforcement responds to potential child abductions. “Of course, technology has changed so dramatically and that’s had a major impact, but we have so many more resources as a result of the Patz case,” said Robert Lowery Jr. of the National Center for Missing and Exploited Children.
Here’s what I wrote in 2012:
At long last, after 33 years, they’ve arrested the alleged murderer of Etan Patz, the six-year-old boy who went missing on his first walk to the bus stop near his home. I knew Etan and his family, and to this day, I have a vivid memory of the moment I learned he had disappeared. Like the Kennedy assassinations, the murder of John Lennon, the Challenger shuttle disaster and the fall of the towers on September 11th, the event burned permanently into my brain, and I can conjure up exactly where I was and what I was doing when I heard the news.
Etan’s family and mine lived in the same coop loft building on Prince Street in SoHo. Our daughter Stacey played with
Stan and Julie Patz, 1980
Etan, and she spent many days in the preschool his mother Julie ran in their third-floor loft. But by May 25, 1979, the day Etan went missing, we were living in a raised ranch 90 miles upstate in Poughkeepsie. We’d rented the house four months before, after I landed a job as an art therapist at Hudson River Psychiatric Center.
We were ambivalent about leaving Manhattan, but we were becoming disenchanted with SoHo. I’d lived there for 12 years, long enough to see the grungy artists’ lofts being swallowed up by gentrification. Real estate prices were rising, and glitzy boutiques were beginning to drive out galleries. Upscale ladies from the Upper East Side and the suburbs were prowling the streets to check out the newly trendy scene, and teens camped out on the steps of the cast iron manufacturing buildings that were home to hundreds of artists.
We were no longer sure we wanted to raise our daughter in the city. In any case, I’d already confronted a harsh reality: I was a good artist, but I’d never be great, and I’d never scale the heady heights of the art world. After my daughter’s birth, I began researching professional careers that offered the promise of a steady paycheck. Art therapy won out over journalism, and by late 1978 I’d acquired an M.A. in Art Therapy from New York University.
We didn’t want to cut our ties to the city, so we unfolded a New York State map on my drafting table. Then, with a compass, we inscribed a circle centered on Times Square, with a ninety-mile radius delineating the outer boundaries of my job search. So it came to pass that in the wintry depths of February, 1979, I immersed myself forty hours a week in the alien wards of a psychiatric hospital for severely and persistently mentally ill adults.
Oh, the stories I could tell. In fact I did: working at Hudson River Psychiatric Center proved so overwhelming that later that year I began writing fiction as a way of processing my feelings. But first came disco – and specifically the double albums of Donna Summer’s “Bad Girls” and the Saturday Night Fever soundtrack album featuring the BeeGees.
Before Poughkeepsie, absorbed in my art therapy studies, I hadn’t had the time or inclination to immerse myself in music, much less disco, but commuting to and from my work on the wards, the joyfully insistent beat blaring from the radio made me a convert. Stacey was three and a half, and we cavorted endlessly around the living room to the strains of “Bad Girls,” “Hot Stuff,” “How Deep Is Your Love,” and “Night Fever.” Those songs might have remained my most indelible memory of the raised ranch on Robert Road – until we heard about Etan Patz on May 25th.
It was early evening, and I was sipping a screwdriver at the end of a long day’s work on the wards, watching the local news from New York City, when all at once Etan’s face filled the screen. He was missing, the newscasters said – walking along Prince Street to catch the bus for first grade, he’d never made it to school. The police had mounted an intensive search, but as the world came to know, they turned up nothing.
Tri-Prince Coop facade
My husband and I followed the news for weeks, and as hope for Etan faded, we gradually reached a decision: we would make a decisive break with the city, sell our coop loft on Prince Street, and use the proceeds to buy a house with a few acres of land in upstate New York. And so we did – by October we were settled in a new home surrounded by 16 acres of woods and wetlands a couple of miles from the Shawangunk ridge west of New Paltz.
I can’t claim we’ve never looked back. We still visit New York City a few times a year, but we no longer feel we belong there – these days we could never afford it. We’re just tourists, like those ladies I once looked down on. Occasionally I’ve walked along Prince Street past Tri-Prince, Inc., our old cast iron coop of three connecting buildings. The Patz family name is still on the buzzer outside, but I’ve never had the courage to ring the bell, nor to phone or write. We were neighbors, not close friends, and what could I possibly say to them?
Lately the press has been full of stories about the crime. Pedro Hernandez, then a stock boy at the corner store where we bought our milk and orange juice, has confessed to killing Etan, but the physical evidence has long since disappeared. How will they ever know for sure? Stan and Julie Patz refuse to talk to reporters, and who can blame them? After long, illustrious lives, Robin Gibb and Donna Summer leave musical legacies we can enjoy forever. We can say they’ve found closure, but for Etan Patz and his family, there will never be peace.